   Jacqueline du Pré interview 'You must have spontaneityand too much study destroys that' 杰奎琳·杜普蕾访谈 ——“你必须有自发性，过度的学习会破坏它。” 延伸阅读：1、“我不演奏大提琴的时候，我到底是谁？”丨《杜普蕾传》 （一）、（二）、杜普蕾说：“我要制造这个声音”丨《杜普蕾传》 （三）、 （四）、杜普蕾的童年十岁就结束了丨《杜普蕾传》 （五）；2、巴伦博伊姆眼中的杜普蕾丨“她对虚伪做作的东西有种恐惧”；3、《杰奎琳的眼泪》是杜·普蕾流下的吗？4、你听过大提琴家杜普蕾弹钢琴吗丨演奏库劳《钢琴奏鸣曲》；5、纪念杜普蕾丨她被上帝恩宠，却被人间抛弃；6、她比烟花灿烂丨《杜普蕾的音乐传奇》纪录片（上、下）；7、纪念杜普蕾丨她为大提琴而生，为大提琴而死！ 本文作者艾伦·布莱斯（Alan Blyth)， 采访与1969年，刊登于《留声机》杂志 Jacqueline du Pré with her then-husband Daniel Barenboim 杰奎琳·杜普蕾和当时的丈夫丹尼尔·巴伦博伊姆（Daniel Barenboim）：  All the world loves a lover and since Jacqueline du Pré loves both her cello and Daniel Barenboim the musical world has found reason doubly to adore her. To meet, she conveys an absolute naturalness of manner, somehow reticent and exuberant at the same time. Reputedly shy before interviewers, she seemed to me the easiest person in the world to talk to when we met in between rehearsals at the Royal Festival Hall green room. 全世界都爱一个有爱好的人。自从杰奎琳·杜普蕾同时爱着她的大提琴和丹尼尔·巴伦博伊姆，音乐界就有了双倍的理由来崇拜她。见面会上，她的表现绝对是自然而然流露的，忽而内向同时又神采飞扬。据说她在采访者面前很羞涩。而当我们在皇家音乐厅（Royal Festival Hall）绿色室彩排遇见时，我觉得她是这个世界上最容易交谈的人。  She has lived music all her life and yet is in no way cut off from the everyday world; it just seems the only way for her to express herself fully. And that she has been doing since the age of four when, after hearing a cello on the radio, her mother gave her one to play. 'My mother was a tremendous inspiration', Jacqueline told me. 'She guided my first steps, wrote tunes for me to play, and drew pictorial descriptions of the melodies. These were quite beautiful and I used to find them tucked under my pillow in the morning so that I couldn't wait to get my hands on the cello again every day. My mother also taught me composition. 她的一生都生活在音乐中，从不中断。这就像是表达她自己的唯一方式。这一切从她四岁时就开始了。那时她在电台接听到大提琴的声音，她妈妈就拿出一把大提琴给她演奏。“我妈妈富有灵感”，杰奎琳告诉我。她是我最初的引导人，她写调子供我演奏，把旋律用图片的形式展现出来，这些都很漂亮，我过去常常每天早上发现它们被藏在我的枕头底下，然后我就迫不及待地用我的手在大提琴上演奏，每天如此。我妈妈也会教我作曲。  'When I was six, I went to the London Cello School and studied with Herbert Whalen and Alison Dalrymple, who was wonderful with children. There was never any compulsion from anybody. If I wanted to climb a tree, I did that instead. When I was 10, I went to William Pleeth, who has been my 'cello Daddy' ever since. 当我六岁时，我进入伦敦大提琴学校（London Cello School），师从赫伯特·惠伦（Herbert Whalen）和艾莉森·达林普（Alison Dalrymple）。他们和孩子们玩得很好，没有任何人会强迫你。如果我想去爬树，我就去爬。当我10岁时，我来到了威廉·普列兹（William Pleeth）这儿学习，从那以后他就成了我的“大提琴爸爸” 。
 'My schooling proper stopped at that time and I started to have a private tutor. I remember I was envious of my sister and her GCE success. She was — still is — a good flautist, also encouraged by my mother but she has little chance to play now that she is married and has four children. 从严格意义上来说，我的学业在那时就停止了，我开始有了一位私教。我记得我很羡慕我的姐姐取得了GCE（通用教育证书），她曾经是——现在仍然是——一位优秀的长笛手，同时她也受到妈妈的鼓励，但是她几乎没有机会去演奏了，因为她结婚了，还有四个孩子。 'I would like to emphasize just how much I owe to Pleeth. He taught me for seven years, got me over a difficult and uncertain time during my adolescence, and by his articulate approach made music really exciting for me. From the minute I first saw him, I admired his warmth. Our paths seldom cross now but when they do we always find time to compare notes.' “我想强调一下，我有多么感激普列兹。他教了我七年，帮我度过了那段艰难不安的青春期，通过他清晰的处理方式使我对音乐感到非常兴奋。从我第一次见到他，我就欣赏他的热情。我们现在很少有见面有交集，但是一旦有交集时，我们总会找出时间来切磋。”
Her first success in public was her Wigmore Hall concert when she was 16, since when her career has not looked back. She had spells studyingwith Tortelier — 'a great musician and inspiration' — when she was 17 and with Rostropovich when she was 21. 'Tortelier was a different sort of teacher from Pleeth. He is a very analytical man and in my first private lessons with him I learnt a lot about the fingers and joints. When I went to the Paris Conservatoire in a masterclass, it wasn't quite the same. There was an audience and I felt I did not gain as much. Rostro is like a volcano and it was exciting to work with him. But all my interpretations stem from Pleeth's grounding — the other two just added their wonderful personalities'. 杰奎琳首次成功公开演奏是她16岁时在威格莫尔音乐厅（Wigmore Hall）的音乐会上，那时开始，她的职业生涯就再也没有回头过。她17岁和托尔特利耶（Tortelier，一位伟大的富有灵感的音乐家）学习技能，21岁时和罗斯托波维奇（Rostropovich）学习。“托尔特利耶是和普列兹不同类型的老师，他是一个非常擅长分析的人。我第一次上他的私授课时，学到了很多关于手指和关节运用的知识。当我在巴黎音乐学院（Paris Conservatoire）的大师班课上，情形就不一样了。这儿有一名观众，而我觉得收获并不多。托尔特利耶就像一座火山，和他在一起工作很有激情。但是我所有的理解都来自于普列兹的基础——而另外两个只是展示了他们各自的特色。”
Jacqueline met Daniel Barenboim at Christmas 1966, at the pianist Fou Ts'ong's house. 'We sat down and made music together — and from then on things developed very fast. We were married soon after the Arab-Israeli war — June 15th, 1967 — between old and new Jerusalem. The whole visit to Israel was a shattering experience, especially playing music to people whose husbands and sons were away fighting. One felt really needed and it was a privilege to help them in some way. We were carried along on a big, emotional wave for three extraordinary weeks.' 1966年，杰奎琳在钢琴家傅聪（Fou Ts'ong）的家里遇见了丹尼尔·巴伦博伊姆。“我们一起坐下来演奏音乐。从那时开始事情进展得很快，我们在1967年6月15日阿拉伯-以色列战争后不久就结婚了，在新旧耶路撒冷之间。整个以色列之行是个让人心碎的过程，特别是对着一群在战争中失去丈夫和儿子的人们演奏音乐。他们特别需要这样一种感觉，就是有一种特权可以在某种程度上帮助他们。我们背负着一种巨大的感情冲击度过了特别的三个星期。”
Her views on recording are now very 'pro' whereas they were once 'con'. 'At 17, it seemed to me the very opposite of what music-making was about but I've gradually grown to enjoy recording. I find I have to tone things down a bit for the mike. Then it can be very lonely in the studio. There, Suvi Grubb has been an enormous help — he's so musical and a real joy to work with. I like to record the whole of a work at once and then use that as a basis to improve on.' 她对于录音持“赞成”态度，而之前是“反对”的。“17岁时，我对“制作音乐”的意义存在完全不同的理解，但是我逐渐喜欢上了录音。我发现，在使用麦克风时我需要降低一点音调。而且在录音室里会感觉非常孤单，在那里，吉格拉布（Suvi Raj Grubb)，在20世纪中期为EMI工作的印度南部的唱片制作人）给了我很大的帮助。他富有乐感，和他在一起工作很开心。我喜欢马上录完整部作品然后在此基础上进行改进。” She has recorded the Schumann Concerto with her husband conducting and more recently the Beethoven and Brahms sonatas with him as pianist. 'We're so lucky that we play so well together as musicians. It's not always that a husband and wife get on well together on the platform and off it.' 杰奎琳已经录完了由她的丈夫指挥的舒曼协奏曲，最近又开始录制了贝多芬和勃拉姆斯的奏鸣曲，由她丈夫担任钢琴演奏。“我们很幸运，我们作为音乐家一起演奏得很好，但是一个妻子和丈夫在台上与台下并不总是能相处得很好。”
She is full of admiration for his organizational powers. 'He has arranged our itinerary so that we spend nearly all our time together. Sometimes we are parted for two days, seldom for more. Then he knows exactly how to manage his own career, spacing all his engagements properly so that he doesn't get over-worked. Of course, I think he's a wonderful conductor and orchestras seem to like him too'. 她很佩服他的统筹安排能力。“他会安排好我们的预定行程，这样我们几乎所有的时间都在一起度过。有时候我们会开分两天，几乎不会超过两天。他知道如何精确的安排他的事务，恰当地支配会面等事宜，这样他就不会过度工作了。当然了，我认为他是一位非常棒的指挥家，而且管弦乐队的成员似乎也很喜欢他。” Jacqueline is very eager to expand her repertory and is delighted that Alexander Goehr, for instance, has written such a grateful work — his Romanze — for the instrument, but she doesn't like playing works that are unsympathetic to her — and these include Shostakovich's First Cello Concerto. She admits that she is slow to appreciate most modern music — 'Bartók is really about as far as I go'. In consequence, as the cello solo repertory is comparatively small, she is turning more and more to chamber music. 'And for this we are lucky to have such a wonderful group of friends and this was the basis for our Summer Music on the South Bank.' 杰奎琳非常渴望扩展的她的保留曲目库，比如说，她很高兴亚历山大·戈尔（Alexander Goehr）为某个乐器谱写了一部伟大的作品——他的浪漫曲。但是她不喜欢演奏对她来说没有感情的作品。—包括肖斯塔科维奇（Shostakovich）的“第一大提琴协奏曲”，她承认她对大多数的当代音乐很难欣赏起来。——“巴托克（'Bartók，匈牙利作曲家）音乐对我而言就是如此”。由于大提琴独奏曲目相对较少，因此她越来越多地转向室内乐。“很幸运的，我们拥有一群很不错的队友，这是我们在伦敦南岸（South Bank）举行夏季音乐会的基础。”
She is no believer in excessive practice, and prefers to leave the cello altogether during the days between concerts. 'That makes the rest beneficial and you come back all the fresher for the next concert. You must have spontaneity and too much study destroys that.' 她不热衷于过度练琴，她宁愿在没有音乐会的日子里离开大提琴。“这样的空隙很有益处，它会让你在下一场音乐会上重新充满活力。你必须有自发性，而过度的练习会破坏这个。” When she undertakes a work new，to her, she says she 'charges at it and sends everything flying. I like to make a big impact and not tackle it at first bar by bar. Then I come down to the ground and look at it more carefully, or perhaps you could say that out of the chaos I put the bits together again.' 当她着手进行一项新的任务时，她就会放飞一切全身心地投入。我喜欢一开始就获得一个事物总体上的印象，而不是从细枝末节开始一条一条地处理。当我回到地面时，我会更仔细地审查，也可以这么说我从一片混乱中把这些碎片又拼起来了。
Off the platform, she likes films — 'nothing too tragic' — and looking at paintings. 'I used to paint myself but I've hidden my attempts bashfully away'. Then she has suddenly discovered she loves cooking. 'Sometimes when Danny wants me to run through a piece, I now say 'no, I want to cook'.' 演出之外，她喜欢电影— 《没什么可悲惨的》（'nothing too tragic'）—也喜欢看油画。“我曾经给自己画画，但我已经很羞怯地隐藏了我的企图。”然后呢，她突然发现自己喜欢烹饪。“有时候，丹尼尔想让我去翻阅一部音乐作品，我说：’不，我想去煮点儿东西。’”
Although she would like to have several children, she could never stop playing for any length of time. 'I could never live without it'. 尽管她想要几个孩子，但是她的生命中不能停止演奏，“没有它我活不下去”。 |
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